“Throughout the years we have never interfered, until now.”
Howdy Movie Geeks to another Monday.
But this Monday is different as this morning, Marvel Studios debuted the exciting teaser trailer and new poster for “Eternals,” directed by Academy Award®–winner Chloé Zhao.
Marvel Studios’ “Eternals” welcomes an exciting new team of Super Heroes to the Marvel Cinematic Universe. The epic story, spanning thousands of years, features a group of immortal heroes forced out of the shadows to reunite against mankind’s oldest enemy, The Deviants.
Check it out now.
Sprite: “So now that Captain Rogers and Iron Man are both gone, who do you think’s gonna lead the Avengers?”
Ikaris: “I could lead them.”
This… is… awesome and ETERNALS will be a terrific third film in the MCU’s Phase Four. In 2019 the cast was announced at 2019 Comic Con in San Diego.
Kevin Feige introduced the director, Chloé Zhao, followed by stars from the film, including, Richard Madden as Ikaris, Kumail Nanjiani as Kingo, Lauren Ridloff as Makkari, Brian Tyree Henry as Phastos, Salma Hayek as Ajak, Lia McHugh as Sprite, Don Lee as Gilgamesh and Angelina Jolie as Thena.
SAN DIEGO, CALIFORNIA – JULY 20: Angelina Jolie of Marvel Studios’ ‘The Eternals’ at the San Diego Comic-Con International 2019 Marvel Studios Panel in Hall H on July 20, 2019 in San Diego, California. (Photo by Alberto E. Rodriguez/Getty Images for Disney)SAN DIEGO, CALIFORNIA – JULY 20: (L-R) Kumail Nanjiani, Brian Tyree Henry, Salma Hayek, Director Chloe Zhao, Lia McHugh, Richard Madden, Angelina Jolie, Lauren Ridloff and Don Lee of Marvel Studios’ ‘The Eternals’ at the San Diego Comic-Con International 2019 Marvel Studios Panel in Hall H on July 20, 2019 in San Diego, California. (Photo by Alberto E. Rodriguez/Getty Images for Disney)
The outstanding ensemble cast includes Richard Madden as the all-powerful Ikaris, Gemma Chan as humankind-loving Sersi, Kumail Nanjiani as cosmic-powered Kingo, Lauren Ridloff as the super-fast Makkari, Brian Tyree Henry as the intelligent inventor Phastos, Salma Hayek as the wise and spiritual leader Ajak, Lia McHugh as the eternally young, old-soul Sprite, Don Lee as the powerful Gilgamesh, Barry Keoghan as aloof loner Druig, and Angelina Jolie as the fierce warrior Thena. Kit Harington plays Dane Whitman.
Directed by Chloé Zhao, ETERNALS opens on November 5,
Thursday, May 27th would be Vincent Price’s 110th Birthday! Price was born here in St. Louis on this date in 1911 and is the most iconic movie star to hail from our city. Price, who died October 25th 1993, was also a gourmand, author, stage actor, speaker, world-class art collector, raconteur, and all-around Renaissance man. Vincent Price was simply one of the most remarkable people of the 20th Century. Ten years ago we had the opportunity to celebrate his 100th birthday and St. Louis was the place to do it. VINCENTENNIAL, The Vincent Price 100th Birthday Celebration, an event that lasted through much of the Spring of 2011. The following year VINCENTENNIAL won two coveted Rondo Awards, one for “Best Fan Event” and a second for myself as “Monster Kid of the Year” for directing the event. The Rondo Awards are prestigious Fan Awards given out annually for the year’s best horror-related stuff–movies, magazines, articles, toys, etc.
The purpose of this article is to provide some background and take a look at Vincentennial Ten Years alter the eventl. As regular readers of WAMG know, I hosted the monthly film festival Super-8 Movie Madness at a local nightclub called The Way Out Club where I showed a dozen or so of the old condensed versions of movies on super-8 sound film. Sometimes I have theme nights. In July of 2010 I did a Charles Bronson night where I showed several condensed films starring the rugged actor and decorated the club with Bronson movie memorabilia. A close friend of mine, Maggie Sherrill, suggested I do a similar Vincent Price night the following spring and call it Vincentennial to tie in with his 100th birthday. I thought it was a great idea and began planning Vincentennial, a one-night party at The Way Out Club. But the scope of the event grew in my head and I decided a full-blown film festival in conjunction with an exhibit would be more appropriate than a one-night film show. Everyone in St. Louis I ran the idea by thought it was a good one. Vincent Price’s daughter Victoria Price got involved in Vincentennial as I had contacted her very early in the process. She said she had thought St. Louis would be the perfect place to honor her father with an event like Vincentennial. She had even contacted the St. Louis Art Museum before I contacted her to see if they were interested in hosting something, but that venue was under renovation and she didn’t know where to turn. The other guest of honor that we thought was important to have was Roger Corman, who of course directed all the great Vincent Price/Edgar Allan Poe films in the 1960’s. I thought it was a long shot getting Corman to come, especially since we didn’t formally extend the invitation until November, but it turns out Corman’s wife Julie was from St. Louis and he agreed to attend if we flew her in as well. Tim Lucas, editor of Video Watchdog magazine and author of the book Mario Bava All the Colors of the Dark, accepted our invitation to conduct two Corman interviews on the stage of the Hi-Pointe Theater. I knew that Tim had written a screenplay about Corman and the making of his 1968 film THE TRIP. I was surprised that Tim had never met Roger Corman.
The heart of Vincentennial was The Vincentennial Vincent Price Film Festival in St. Louis which ran 10 days and featured screenings of 20 Vincent Price movies. The fest started at the Missouri History Museum with a screening of THE FLY preceded by Michael Jackson’s Thriller complete with a Vincent Price look-a-like contest, dancers, and The Fly in attendance. The film fest then moved to the palatial Hi-Pointe Theater, an old-school style movie palace just a couple of blocks from where Vincent Price grew up.
May 21st, we screened a 35mm print of TOMB OF LIGEIA (1965) at the spacious Hi-Pointe Theater preceded by an on-stage interview with Corman moderated by Tim Lucas, editor of Video Watchdog magazine. This discussion centered on Corman’s collaborations and friendship with Vincent Price. On Sunday May 22nd, we brought Corman back for a second interview, this time discussing his overall career as a director and producer of over 500 films. Corman spoke candidly about his start in show biz and the rigors of ultra-low budget filmmaking. He also shared amazing anecdotes about dropping LSD to research the filming of THE TRIP (Lucas has written a screenplay about this specific chapter in Corman’s life), and working with cult stars like Susan Cabot, Dick Miller, and Charles Bronson. Corman brought his career up to date with stories about his latest work producing an incredibly successful string of movies for the Sc-Fi channel with titles like SHARKTOPUS and DINOSHARK (and announced his newest title PIRAHNACONDA). Lucas asked great questions and Corman was gracious, candid, and forthcoming. This was followed by a 35mm screening of MASQUE OF THE RED DEATH.
Here’s Tim Lucas’ interview with Roger CormanMay 22 2011
Just before the second interview, Roger Corman was presented with a lifetime achievement award with a plaque created by local artist Tom Huck.
We also brought in several Vincent Price scholars to introduce the other films. Highlights of the Vincentennial Vincent Price Film Fest included:
THE LAST MAN ON EARTH (1964) was be presented in a stunning 35mm print preceded by Tim Burton’s 6-minute stop-motion animation short VINCENT with an introduction and post-film discussion by Richard Squires, creator of the Web site the Vincent Price Exhibit.
A William Castle Double Feature in ‘Emergo’ and ‘Percepto’ HOUSE ON HAUNTED HILL (1959) was presented in it’s original gimmick ‘Emergo’ followed by THE TINGLER (1959) also presented in it’s original gimmick ‘Percepto’ with introductions and post-film discussions by Film Forum’s Bruce Goldstein who helped recreate these gimmicks.
THEATRE OF BLOOD (1972) was presented in a 35mm print with an introduction and post-film discussion by Richard Squires,
THE PIT AND THE PENDULUM (1962) at The Hi-Pointe, a double feature of THE RAVEN (1963) and THE ABOMINABLE DR. PHIBES (1971) held at LEE AUDITORIUM At the Missouri History Museum.
A Double feature of LAURA (1944) and DRAGONWYCK (1948) with introductions and a post-film discussion of LAURA by Washington U. film & media professor Gaylyn Studlar, David May Distinguished Professor in the Humanities and director of the Film & Media Studies program.
A Double feature of CHAMPAGNE FOR CEASAR (1950 – presented in 35mm) and BARON OF ARIZONA (1950) With introductions and a post-film discussion of CHAMPAGNE FOR CEASAR by Washington U. film & media lecturer Hunter Vaughan
THE WHALES OF AUGUST (1987) followed by VINCENT PRICE, THE SINISTER IMAGE, a 62-minute interview by journalist David Del Valle with an introduction by David Del Valle and an on-stage post-film interview with Victoria Price, author of “Vincent Price, a Daughter’s Biography”. conducted by Mr. Del Valle, seated in a way similar to the interview from 24 years earlier. Victoria really opened up about her father, the rest of her family and what it was like growing up as Vincent Price’s daughter.
WITCHFINDER GENERAL (1968). This was the British cut of the film better known in the U.S. as THE CONQUEROR WORM and presented in a 35mm printwith an introduction and a post-film discussion by Washington U. film & media professor William Paul.
An outdoor screening in Forest Park of EDWARD SCISSORHANDS (1990) was preceded by Tim Burton’s VINCENT and Michael Jackson’s THRILLER on a giant inflatable screen.
Super-8 Vincent Price Movie Madness at The Way Out Club (2525 Jefferson Avenue in South St. Louis). This was a 100 minute show comprised of 5 Vincent Price movies condensed to 9 minutes each (CONQUEROR WORM, WAR-GODS OF THE DEEP, THE RAVEN, PIT AND THE PENDULUM, and MASTER OF THE WORLD), a 17-minute cut of THE MAD MAGICIAN in 3-D (we’ve got plenty of 3D glasses), 7 trailers from Vincent Price movies, and Tim Burton’s 6-minute short VINCENT. All of these are on Super-8 film with magnetic soundtrack and will be projected on a big screen. The at midnight May 27th (Price’s Birthday proper), we showed a 16mm print of DR. GOLDFOOT AND THE GIRL BOMBS
On Vincent Price’s 100th birthday, May 27th, his daughter Victoria Price gave an amazing 2-hour plus multimedia lecture entitled The Vincent Price Legacy: Reflections From a Daughter at the Missouri History Museum. After local actor John Contini recited Poe’s The Tell Tale Heart, the audience was treated to a mesmerizing one-woman show performed by the charismatic Ms Price who held the standing-room-only audience spellbound as she brought her father back to life through reminiscing, photos and film clips. She even got her half-brother Vincent Barrett Price involved. ‘Barrett’ is famously known for his reticence when it comes to speaking about his famous legacy but he sat down for this occasion and let his sister film several minutes of fascinating testimonial. Here’s ten minutes of Victoria’s speech:
For most who attended several of the Vincentennial events, Victoria’s presentation was the highlight.
Victoria Price’s presentation at the Missouri History Museum and her half-brother Vincent Barrett Price
When Victoria Price was in town, we took her to her father’s high school, St. Louis Country Day School (now known as MICDS) where Cliff Saxton, the school’s archivist, showed her clippings and photos of her father in his youth that she had never seen. She toured the school’s Vincent Price Theater and was forced to sit in a hallway of lockers at the school during a tornado alert (she claims to have found this “very exciting”). The private school got the money ball rolling in terms of fundraising for Vincentennial and became the presenting sponsor of the event. Victoria also attended Robert Taylor’s gallery talk at The Sheldon while she was in town. Read Cliff Saxton’s article about Vincent Price’s school days HERE
Victoria Price with Cliff Saxton at her father’s High School and during a tornado alarm there.
Vincentennial: The Legacy of Vincent Price Exhibit opened at the Sheldon Art Galleries in St. Louis Friday, April 22nd. 2011 Despite tornado alerts and it being Good Friday, there was a turnout of over 250 enthusiastic people on hand for the opening night reception. The free wine, Stella Artois beer, and snacks were appreciated by the crowd who at one point were sent downstairs while the tornado alarms went off. Fortunately, the Vincent Price Exhibit was downstairs as well, and when the beer made it down there, it just became more of a party. I’m pretty sure Vincent Price was behind the wicked weather. The exhibition was underwritten by Mary Strauss and curated by Tom Stockman.
Vincentennial: The Legacy of Vincent Price is a one-of-a-kind exhibit of historical artifacts, movie memorabilia, and collectibles assembled from the collections of several Vincent Price fans from across the country. In honor of the upcoming centennial of his birth, this exhibit is designed to honor the life and career of one of the 20th century’s most remarkable men. Robert Taylor, Rick Squires, Jenni Nolan, and Cortland Hull are Price aficionados spread out across the U.S. who are all loaning items from their collections as well as some St. Louis-based collectors.
Robert brought some one-of-a-kind pieces from Price’s childhood and youth, Rick’s loaned just a fraction of his enormous collection of ephemera and collectibles from all aspects of Price’s career, and Cortland brought (among other things) his life-size figures of Dr. Phibes and Professor Jarrod from HOUSE OF WAX (which is wearing the actual costume Price wore in the film). MICDS (formerly St. Louis Country Day School, Price’s Alma Mater) lent items from their archives as well.
Other highlights in the exhibit include Vincent Price’s baby book, which chronicles his birth and includes his baby mittens, locks of hair, and other items; his high school yearbook; membership cards from his wallet; a sympathy letter he wrote to Evie Karloff on the death of his friend, Boris Karloff; a drawing by Price of the actress Helen Hayes when they were on-stage in London in the 1930s; a postcard to Vincent Price from Ernest Hemingway; theatre programs from his high school days through to his later years when he played Oscar Wilde onstage in the one-man show Diversions and Delights to great acclaim.
And of course there is lots of movie memorabilia. The original one-sheet poster from his 1938 film debut SERVICE DELUXE is displayed as well as other original vintage posters including those for HOUSE ON HAUNTED HILL, BARON OF ARIZONA, MASQUE OF THE RED DEATH, THE TINGLER (There’s an actual Tingler crawling up this poster, so scream for your lives!), HOUSE OF USHER, THE MAD MAGICIAN and many more. Also there will be original lobby cards displayed from LAURA, LEAVE HER TO HEAVEN, SONG OF BERNADETTE, TOMB OF LIGEIA, CONQUEROR WORM, PIT AND THE PENDULUM, and more. There are Vincent Price toys, comics, and other collectibles displayed as well as several resin model kits of Price from such films as PIT AND THE PENDULUM, HOUSE ON HAUNTED HILL, THE RAVEN and a new resin kit from THEATER OF BLOOD that is making its world premiere at this exhibit.
Movie memorabilia displayed and Cortland Hull’s life-size figures
Robert Taylor, Sara Waugh, Rick Squires, Jenni Nolan and Cortland Hull are Vincent Price collectors scattered across the country and they all lent items from their collections as did several St. Louis-based memorabilia collectors. Robert and Sara lent one-of-a-kind pieces from Price’s childhood and youth, Rick lent just a fraction of his enormous collection of ephemera and collectibles from all aspects of Price’s career, be sure to link to Rick’s site at http://vincentpriceexhibit.com/), and Cortland brought (among other things) his life-size figures of Dr. Phibes and Professor Jarrod from HOUSE OF WAX, which wore the original outfit that Vincent Price wore in that 1953 film.
Some of the various Vincent Price figures, toys, and model kits
There were displays of movie and theater posters, stills, toys, and resin model kits in the exhibit as well. Rick Squires gave an informative exhibit talk at The Sheldon when he was in town as did Robert Taylor. The folks at The Sheldon estimated that over 10,000 people viewed the exhibit during its 4-month run.
WithCortland Hulljust after we had set up his figures for the exhibit
Vincent Price Presents at Star Clipper, was an art exhibit that began April 29th at the gallery at Star Clipper Comics, St. Louis’ premiere comic shop that was located at 6392 Delmar Blvd. in the Loop area of St. Louis. TThis exhibit will featured paintings and illustrations of Vincent Price to tie in to Vincentennial,
The showcase artist for the exhibit is Joel Robinson, who created the vivid covers for the first eight issues of Bluewater Comics’ Vincent Price Presents series as well as the Vincentennial logo. Shana Bilbrey, popular genre artist and regular contributor to Little Shop of Horrors and other publications will display her take on Price as well as many St. Louis-based artists including Sherry Nillissen, Richard Bernal, Aaron Anderson, Ron Lizorty, Jimmy Valentine, Paul Daly, Max Iver, Jeff Weigel, Russ Rosener, Barry Brosch, Fred Meyer, and We Are Movie Geek’s own Jim Batts,.
The Magic Smoking Monkey Theater Group, an off-shoot of St. Louis Shakespeare, cleverly turned THE ABOMINABLE DR. PHIBES into a hilarious Monty Pythonesque stage play that ran 8 performances to large crowds at the St. Louis Regional Arts Commission. St. Louis Shakespeare’s Magic Smoking Monkey Theatre had based their new play on the 1971 Vincent Price horror favorite. The parody was directed by Artistic Director Donna Northcott and features Richard Lewis as DR. PHIBES, Luke Lindberg as DR. VESALIUS, and Ben Ritchie as DET. INSPECTOR TROUT, with Nicole Angeli, Casey Boland, Jaysen Cryer, Ruman Kazi, Scott McMaster, Sarah Porter, and Jason Puff.
The Vincentennial garnered tons of high-profile publicity in the St. Louis media. I personally did about a dozen radio interviews and about a half-dozen local TV shows. The local arts paper The Riverfront Times gave Vincentennial a huge cover story (the on-line version of their article can be found HERE) and the city’s major daily The St. Louis Post Dispatch did several articles including the cover of their arts calendar section.
Examples of the high-profile publicity in the St. Louis media that Vincentennial received
I teamed up with Steve DeBellis, a well know St. Louis historian and published a 40-page all-Vincent Price issue of the St. Louis Globe-Democrat to tie into the Vincentennial. This paper comprised all new articles including:
– a cover story on the Vincent Price/Michael Jackson Thriller rap by Steve DeBellis complete with an original illustration by artist Jeff Weigel
– an article about Vincent Price’s High School days by Cliff Saxton, archivist at MICDS (Price’s alma mater) with info not seen in any Price biographies
– a testimonial by his THE FLY co-star David Hedison
– an article on Vincent Price’s top ten best films by Jim Batts, Dana Jung, and Tom Stockman
– a map of Vincent Price St. Louis landmarks
– my interview with TOMB OF LIGEIA star Elizabeth Shepherd
– a look at Vincent Price’s fondness for the St. Louis Cardinals by Dick Pointer
– an article about Vincent Price’s family tree by Steve DeBellis
– an article by Irene Leland about her mother Dorothy who was engaged to Vincent Price in the 1930’s
– a reassessment of DR. GOLDFOOT AND THE GIRL BOMBS by Dana Jung
– an article about Vincent Price’s cooking career by Rick Squires
– an article about Vincent Price’s TV work by Rob Levy
– a 4-page comic-strip biography of Vincent Price by We Are Movie Geek’s own Jim Batts – and much more
Jim Batt’s comic-strip biography of Vincent Price
Roger Corman reading The St. Louis Globe Democrat All-Vincent Price issue
Vincentennial was a huge success. Over 3500 people attended the The Vincentennial Vincent Price Film Festival and people came from all over the country (and the world) to see the exhibits and join in the celebration. Everyone in St. Louis loves Vincent Price and we’re all proud that this is his home town. Everyone seemed to remember seeing him at the Muny or speaking somewhere here. It was great talking to people about the event because everyone was so positive and wanted to talk or refer me to someone else who wanted to get involved. No one expressed disinterest. Vincent Price is the most iconic movie star to hail from St. Louis. He was also a gourmet chef, author, stage actor, speaker, world-class art collector, raconteur, and all-around Renaissance man. We had only one opportunity to celebrate his 100th birthday and it was important to the people of St. Louis that it was done right. Vincent Price (unlike Tennessee Williams, another St. Louisan whose 100th B-Day was two months earlier) loved St. Louis and was proud of his roots here. He gave much to our city and Vincentennial was a way to honor the good will his memory generated.
Bette Midler, Sarah Jessica Parker and Kathy Najimy will reprise their roles as the delightfully wicked Sanderson Sisters in the live-action comedy “Hocus Pocus 2,” the spooky sequel to Disney’s 1993 Halloween cult classic “Hocus Pocus.” The film will premiere exclusively on Disney+ in 2022.
Singer/actress Bette Midler (“The First Wives Club,” “Beaches”) returns as Winifred Sanderson, with Sarah Jessica Parker (“Sex and the City”) and Kathy Najimy (“Sister Act”) back as her sisters, Sarah and Mary, respectively.
In “Hocus Pocus 2,” three young women accidentally bring the Sanderson Sisters back to modern day Salem and must figure out how to stop the child-hungry witches from wreaking a new kind of havoc on the world.
“Hocus Pocus 2” will begin production this fall under the direction of Anne Fletcher (“The Proposal,” “27 Dresses”), who is taking over directing responsibilities from her friend and colleague Adam Shankman (“Hairspray,” “The Wedding Planner”), with Lynn Harris (“The Shallows”) serving as producer. Shankman is currently in production on “Disenchanted” for the studio, which he is directing, but will remain on this project as an executive producer along with Ralph Winter (“Adrift”) and David Kirschner (“Curse of Chucky”). Steven Haft (“Tigerland”) is co-producer.
Fletcher and Shankman first met in 1990 when they were both dancers for the Academy Awards® broadcast. Shankman went on to hire her as his assistant choreographer, working together on over 100 different jobs. Fletcher’s first directing gig was in 2006 on “Step Up,” which Shankman produced.
“As heartbroken as I am that I won’t be able to direct my friends Bette, Sarah Jessica and Kathy in what is sure to be nothing short of a major event for Disney+ due to scheduling conflicts, I couldn’t be more pleased to be handing over the reins to Anne, who has brought so much laughter and joy into people’s lives with her previous work,” says executive producer Adam Shankman. “I am still grateful and proud to help shepherd this ingenious project as executive producer alongside producer Lynn Harris, whom I have loved and admired as a colleague and friend since she helped get me the job choreographing ‘Boogie Nights.’”
“Now more than ever, people need to laugh. We should be laughing every day, and there is so much fun to be had with these three unbelievable women playing delicious characters from such a beloved film,” says director Anne Fletcher. “I am so grateful to be able to play a part in bringing these witches back to life, and to be working with my friends at Disney again makes it all the more special. This is a movie for everyone, from the fans who grew up with the first film to the next generation of viewers, and I can’t wait to get started.”
Director John Krasinski and late night talk show host Stephen Colbert of CBS’s “The Late Show With Stephen Colbert“, along with his wife Evie, celebrated together when Krasinski was the show’s FIRST guest since the lockdown in 2020 to talk about A QUIET PLACE PART II. The film picks up right where the 2018 movie ended and stars Emily Blunt, John Krasinski, Cillian Murphy, Millicent Simmonds, Noah Jupe and Djimon Hounsou.
Watch the interview from March 9, 2020 where the two discuss horror films, parenthood, calls he and Blunt’s work “the collaboration of his career” and why he made the first movie.
Those who saw A QUIET PLACE in theaters will remember the silence and how motionless the audience was – no cell phone texting, no candy wrappers crinkling, and no one eating popcorn. We became active participants and it was a collective, heightened experience.
If anyone is going to save theaters this summer it’ll be Krasinski and Emily Blunt. This movie is going to be HUGE, what will get people back into cinemas for that group experience and will see big office returns. In a recent NY Times interview, Krasinski says, “I have no idea what’s going to happen with the box office,” he said. “What’s most important to me is that if you want to see this movie, I’m going to show it to you.”
During Thursday’s interview, the filmmaker and host discussed the terrifying film that as Colbert puts it, “has alot of heart,” the amazing sound design, his surprise visits to the various screenings and how these movies are a “love letter to his kids”.
See this clip of how he surprised audiences in Miami earlier this week.
Check out this hilarious 2020 interview with BBC Radio 1 on Blunt and Krasinski’s take on alternate titles for A QUIET PLACE. In November 2020, Variety reported: Jeff Nichols has been tapped to write and direct a third film in the franchise, based on an original idea from John Krasinski. The new installment will be released in 2022.
Following the deadly events at home, the Abbott family (Emily Blunt, Millicent Simmonds, Noah Jupe) must now face the terrors of the outside world as they continue their fight for survival in silence. Forced to venture into the unknown, they quickly realize that the creatures that hunt by sound are not the only threats that lurk beyond the sand path.
From Paramount Pictures, A QUIET PLACE PART II is ONLY in THEATRES, DOLBY CINEMA AND IMAX ON MAY 28, 2021.
Get you tickets here and to the early screening on May 27 for the LIVE Q&A with John Krasinski
We’re all overdue for a Summer excursion, but if you’re still a bit skittish over air travel, then the multiplex has the perfect virtual Summer visit to Wales, from about nearly twenty years ago. Oh, there’s a bonus for you animal fans and sports enthusiasts, since this story, which is inspired by true events, is all about the “sport of kings”, horse racing. So, you know you’ll get to see these beautiful animals up-close in several suspense-filled tourneys. But you’ll be emotionally invested due to the film’s focus on a most unlikely group of thoroughbred backers. They’re the true heart of this tale. We’re rooting for them as much as this new equine cinema superstar, coming around the track, hot on the heels of SEABISCUIT and SECRETARIAT, is Dream Alliance, a “real-life” DREAM HORSE.
It’s the start of the new 21st Century, though the folk in the economically depressed village of Blackwood in South Wales have little to celebrate. Especially Jan Vokes (Toni Collette), who’s struggling to make ends meet. Her hubby, Brian (Owen Teale) has little work as a handyman/farmer so he spends much of his day tending to their ducks (an investment) and mocking agriculture-based reality TV shows. In the pre-dawn hours Jan looks in on her aged ailing parents before heading to job number one as a cashier at the town supermarket. At the end of her shift there, she has a spot of tea with Brian before changing for job number two as a barmaid at the main pub. One night she overhears a new customer, Howard Davies (Damian Lewis) entertaining his mates with stories of his time in horse racing. Jan approaches him later to learn more about the sport. Howard admits that he was part of a group, a “syndicate”, that invested in a racehorse. Even though the pub owner tells her that Davies nearly lost everything, the wheels begin spinning in Jan’s brain. After some research she believes that a syndicate can be organized In Blackwood. Though things are “tight” she thinks a few can spare a ten spot a week to cover expenses. Howard agrees to join her,though he has promised wife Angela (Joanna Page) that he’ll never return to racing. The two organize a meeting in the pub’s pool room, and after a late start, they sign up eight or so citizens. This leads to the purchase of a mare Rewbell, which is bred with champion stallion (for a big stud fee) Bien Bien to produce a beautiful brown colt that the group names Dream Alliance. After a training stint, Dream fianlly begins racing in hurdle competitions. As the tales of Dream circulate, the town is recharged with hope. But will Blackwood’s mascot continue to inspire as he faces a physical trauma that could end his career and life?
The talented Ms. Collette demonstrates her considerable range with her subtle portrayal of a real small-town hero, after dazzling us recently in her offbeat roles in I’M THINKING OF ENDING THINGS and the horrific HEREDITARY (which earned her the coveted Best Actress award from the St. Louis Film Critics Association). Her Jan is a hard worker, nearly invisible to her neighbors, who is just trying to keep (and her hubby’s) head above water. Then Collette shows us a different side, as the dark circles seem to vanish when her eyes reflect Jan’s new purpose. The naysayers will not damper her as her inner spark after it finally starts to glow. That heat even rejuvenates Teale’s Brian, who springs to life like he found that golden ticket in his”Wonkabar”. Lewis, as Davies, finds himself affected by the “plan” becoming a fervent business partner after his initial reluctance. He’s still healing from his past racing failures and is often the voice of reason and reality to the enraptured villagers. He tells them to not invest for financial return, but for the love of the race. That zeal arises in him, though he tries to hide it from his wife, who has a clearer memory of his last syndicate (it seems to be the only thing chaining him to his soul-crushing loan officer job). The rest of the “syndicate’ is composed of some wonderful character actors, though the scene-stealer might be Karl Johnson as barfly Kerby, an “old sod” that loves his drink (smuggling cans into the swanky racetrack owners’ longue) more than being clothed (after a hurdles victory, the pants seem to vanish).
Director Euros Lyn has lovingly crafted a modern-day rags-to-riches fable from the witty, expertly constructed screenplay by Neil McKay. Much as with the iconic WIZARD OF OZ, life’s color looks drained away in the dreary Welch town (especially true in the fluorescent tube-lit supermarket where Jan spends her days) until the colt’s birth which bathes every scene in a warm, rustic glow (thanks to the inspired cinematography work of Erik Wilson). The story also benefits from its gentle tweaking of the class system as the “upper crust” must suddenly deal with the “working class” who have somehow invaded their expertly manicured turf. But everything’s not “hearts and flowers’ as Jan and her partners have to make a tough “call” when things go staggeringly bad at one competition. Ah, but that’s why the victories taste so sweet. And sweet’s the operative word for this little gem. After the tragedies and frustrations of the last year, this might be another terrific “shot in the arm”. Well, the heart really. I’ve no choice but to reuse the old cliche, “the feel-good hit of the year” since the ending still has me smiling after 24 hours (I implore you to stay for the truly joyful end credits). DREAM HORSE is one sweet dream of a movie. And there’s no need for a “photo finish”.
3.5 Out of 4
DREAM HORSE opens in select theatres on Friday, May 21, 2021
With Memorial Day weekend looming, what better time to kick back and enjoy and a noisy action blockbuster. That’s the way movie fans marked the beginning of the Summer season, well, in those before times. Sure this week’s new blockbuster began running on several screens last weekend, but the main focus of its marketing right now is about its “dropping” on a major streaming service (several would say “the streaming service”). It, however, “changes up” the usual formula for thrillers, aside from its distribution, since it’s another “high-concept hybrid”. You see this is a modern-day action heist flick, complete with the all “big plan’ and assembling the team. Y’know like the main variations, reboots, and sequels to OCEAN’S ELEVEN. So what’s the twist? Well, the big “window of opportunity” for the “grab” is opened due to a big disaster, though not a natural one like the big storm in 1008’s HARD RAIN. Nope, this is another one of those pesky zombie outbreaks. Yes, it’s extra tough to make that “big score” when you’ve got to contend with an ARMY OF THE DEAD.
The story does begin with the start of said “outbreak” when two newlyweds begin their honeymoon on the road to Vegas. The very distracted driver collides with a heavily armored military transport, dislodging its deadly cargo” a ravenous cannibalistic super-powered murder machine. Naturally his bite turns the surviving escort soldiers into killers who are quickly drawn to that “bright-light city”. Via an opening title montage, we see the town become overrun by the undead mobs, which also overwhelm the military. It’s soon determined that “Lost Wages” is a loss that needs to be isolated by a containment fence-like wall made of boxcars dropped by helicopters. A tent city is also set up outside the city by the World Health Organization to quarantine and monitor the evacuating citizens. As the TV news reports of plans to obliterate the infected city with a tactical nuclear strike (on July 4th, natch’), the grill man at a dusty diner, Scott Ward (Dave Bautista) is stunned to get a visit from casino kingpin Bly Tanaka (Hiroyuki Sanada). His insurance has already re-reimbursed him for the 200 million stuck in the big vault beneath his showcase hotel/spa, but he now wants a team to secretly sneak into the city and grab the vault’s contents prior to it getting “nuked”. Since Scott’s a decorated vet and former Vegas resident, he’s offered 50 million to assemble a team (and split that dough any way he wants). He reluctantly agrees and puts together his crew of old cohorts. First is super-mechanic Maria (Ana de la Reguera), “muscle” Vanderohe (Omari Hardwick), and ace chopper pilot Peters (Tig Notaro). Then some “newbies’ are recruited: safecracker ‘savant” Dieter (Matthias Schweighofer) and social media zombie-killing star “Guz” (Raul Castillo) and his “right-hand” Chambers (Samantha Win). Everyone is startled when they’re joined at the last minute by Tanaka’s security chief Marin (Garret Dillahunt). Is he there to keep them on track, or does he have his own agenda? Scott decides the best way to enter Vegas is through the detention camp which entails an uneasy reunion with estranged daughter and WHO worker Kate (Ella Purnell). She enlists a “Coyote”, who has been sneaking folks into town, Lilly (Nora Arnezeder), who also brings in an abusive military guard Burt (Theo Rossi). Oh, and much to Scott’s ire, Kate insists on coming so she can keep an eye out for a mother who made the trek recently. As the clock ticks down to the nuclear blast, can this motley crew make the grab and fly out, while avoiding a horde of rampaging hungry hordes? If they stick to the plan, everything will work out, right?
In his best post-Drax leading role, Bautista proves to be a compelling screen presence casting a commanding silhouette, but still showing a bit more of his human side. Scott is able to shake off the “biters’ as though they were ragdolls, but he can’t shake off the guilt of his failure during the attack on his family. His MCU role may present more of his wry comic timing, but we’re getting a bit more of his heartfelt dramatic side, especially as he finally opens up to his daughter close to the big finale. Purnell, as that sibling kate, is a strong sparring partner for him, never backing down, though the role often seems abrasive and headstrong. Scott’s other partner, perhaps his BFF, is the warm, but no-nonsense de la Reguera who can now add action lead to her growing resume. Hardwick also is an impressive physical presence but is best as a big brother/straight-man to the tightly-wound, eccentric Schweighofer as the endearing, often dense Dieter. Notaro projects just the right amount of “fly-boy swagger” as the sweetly sarcastic Parker. And Rossi, Amezeder, and Dillahunt add an air of mystery as characters who may be a great back-up, though often have secretive motivations.
After a seventeen-year hiatus, in which he became the controversial guiding force in the Warner/DC franchises (“wrecking ball” springs to mind, IMO), Zack Snyder returns to the land of the “non-living” with this epic tale (clocking in at nearly 150 minutes (brevity alludes him). And as in DAWN, these ghouls are almost Olympic sprinters (a trait George Romero chided in his LAND OF THE DEAD), while several new twists are added (they all tend to get into Spider-Man-style poses since I’m guessing that most are played by “Cirque du Soleil” vets). An almost-social hierarchy (maybe a class system) is established. “Alphas”, those bitten by “Zombie Zero” AKA “Zeus”, seem a bit smarter and lord over the majority known as “shamblers”. And there’s a huge development that I won’t spoil, but I’m guessing it will figure into the sequel (or prequel). Still, for all the “rules” set up, Snyder gleefully bends them so that the monsters can slowly advance the plot. And it is a slow build-up into the mayhem that finally begins (we learn that the dead “hibernate”). Snyder, who co-wrote the screenplay with Shay Hatten and Joby Harold, does get the sun-drenched Hell vibe of Vegas correct (as does the current HBOMax series “Hacks”), but certain “out-of-nowhere character confessions are poorly planned. Much of the big action set-pieces quickly devolve into “first-person shooter’ video game homages, slowed down to a crawl (Z love his ultra “slo-mo”) and backed up by campy choices of pop tunes and Vegas standards. And after, what is it, 30 seasons of TV’s “The Walking Dead” (which has two spin-offs now), many of the creeping around/zombie ambushes feel awfully familiar. And I think I mentioned the two-and-a-half-hour runtime. Even a bit of Snyder’s superhero flicks, Zuess sports a cape and a bullet-proof cowl, creeps in, but he doesn’t add enough to now trite Canibal creep tropes. Action and gore fans will get their fill, but for many ARMY OF THE DEAD is a ponderous platoon march through “glitter gulch”. Cash me out.
2 Out of 4
ARMY OF THE DEAD is now playing in select theatres and begins streaming exclusively on Netflix beginning Friday, May 21, 2021.
Yasuzo Masumura’s IREZUMI (1966) will be available on Blu-ray June 22nd From Arrow Video
Drawn from the pen of one of Japan’s foremost writers of the 20th century, Junichiro Tanizaki (A Fool’s Love, The Makioka Sisters), Irezumi is a stylish tale of lust, betrayal and revenge directed by Yasuzo Masumura (Giants and Toys, Blind Beast).
Masumura’s muse Ayako Wakao (The Blue Sky Maiden, Red Angel) stars as Otsuya, the daughter of a rich merchant, who is tempted by her lover, Shinsuke, a lowly employee of her father’s, to elope. During their flight, Otsuya’s beauty attracts the gaze of Seikichi, a mysterious master tattooist who sees her pristine white skin as the perfect canvas for his art. The image of the large demonic spider that he emblazons across Otsuya’s back marks her as the property of another man, radically altering her relationships with all around her as her personality transforms under its influence.
Available for the first time outside of Japan in a new 4K restoration, Irezumi sports some of Japanese cinema’s most respected talent of its day both in front of and behind the camera. The bewitching cinematography by Kazuo Miyagawa (Rashomon, Ugetsu) captures the sensual atmosphere of the period setting, while the script by Kaneto Shindo (Onibaba, Kuroneko) lends a modern twist to this feverish meditation on obsession and the act of creation.
SPECIAL EDITION CONTENTS:
High Definition Blu-ray (1080p) presentation from a new 4K scan
Original uncompressed Japanese mono audio
Optional English subtitles
Brand new audio commentary by Japanese cinema scholar David Desser
Newly filmed introduction by Japanese cinema expert Tony Rayns
Out of the Darkness, a brand new visual essay by Asian cinema scholar Daisuke Miyao
Original Trailer
Image Gallery
Reversible sleeve featuring original and newly commissioned artwork by Tony Stella
FIRST PRESSING ONLY: Illustrated collectors’ booklet featuring new writing by Thomas Lamarre and Daisuke Miyao
“There’s no way, *no* way that you came from *my* loins. Soon as I get home, first thing I’m gonna do is punch yo mamma in da mouth!”
SMOKEY AND THE BANDIT and HOOPER will be screening as part of this Weekend’s ‘FirebirdFest ’21 St Louis’ this weekend at The Skyview Drive-in in Belleville, IL (5700 N Belt W, Belleville, IL 62226).
It’s a whole weekend of Firebird fun. Here’s the Schedule for FirebirdFest ’21 St Louis:
FRIDAY MAY 21
11:00 AM – 5:00 PMFirebirdFest 2021 KICKOFF “Meet and Greet” Car Show #1
Food truck/LIVE DJ/Prizes/Photo Booth/2nd Gen Graveyard Vendor!
Gateway Classic Cars Museum
1237 Central Park Drive O’Fallon, Illinois 62269
(4:00 PM – 5:00 PM) ANNOUNCEMENT AND PHOTOS OF LEGACY CRUISE SELECTIONS (OPTION TO GRAB LOCAL FAST FOOD BEFORE WE DEPART OR EAT AT DRIVE-IN FULL CONCESSION STAND)
La-La Land Records and Paramount Pictures proudly present renowned composer Marco Beltrami’s(A QUIET PLACE, FORD v FERRARI, LOGAN) original motion picture score to the new Paramount Pictures big-screen thriller A QUIET PLACE PART II, starring Emily Blunt, Cillian Murphy and Djimon Hounsou, and directed by John Krasinski. The film has received stellar reviews and presently sits at 91% on Rotten Tomatoes.
His score for A QUIET PLACE was nominated for a Golden Globe for Best Score and shortlisted for Best Score for the Oscars.
His other recent projects include Guillermo Del Toro’s Scary Stories to Tell in the Dark, Jordan Peele’s “The Twilight Zone” for CBS All Access, the Lionsgate comedy Long Shot starring Charlize Theron and Seth Rogen, the Zac Efron-starrer Extremely Wicked, Shockingly Vile, and Evil, Lionsgate sci-fi feature Chaos Walking starring Tom Holland and Daisy Ridley and the Paramount Pictures adventure comedy Love and Monsters.
Upcoming for Beltrami is Netflix’s horror film Fear Street, Sony Pictures action horror sequel Venom: Let There Be Carnage.
Building on his exciting and atmospheric musical soundscape for the blockbuster original A QUIET PLACE, composer Beltrami returns to score this thrilling and much-anticipated continuation of the saga. Again, Beltrami musically finds and enriches the film’s perfect pitch of creative scares, nail-biting suspense and powerful human drama.
Produced by the composer and Buck Sanders, this special CD release is limited to 2000 units. Pre-order from Amazon here.
Tracks:
From the Beginning 0:51
Leaving the Farm 1:34
Watch Us Run 2:01
Moving In 2:26
Show Me Your Face 1:17
Regan On Her Own 1:18
Training Day 2:38
Mother and Child 1:42
Family Ties 2:44
You Scream You Die 6:31
Dive 3:44
Emmet’s Realizations 2:06
Entering the Station 4:13
Encouraging Feedback 2:10
A Grateful Family 2:09
Following the deadly events at home, the Abbott family (Emily Blunt, Millicent Simmonds, Noah Jupe) must now face the terrors of the outside world as they continue their fight for survival in silence. Forced to venture into the unknown, they quickly realize that the creatures that hunt by sound are not the only threats that lurk beyond the sand path. Stars Emily Blunt, Cillian Murphy, Millicent Simmonds, Noah Jupe, Djimon Hounsou.
A QUIET PLACE PART II IS ONLY IN THEATRES, DOLBY CINEMA AND IMAX ON MAY 28, 2021.
Get ready for a new scary movie coming this summer, LET US IN.
A spirited twelve year old girl and her best friend look to uncover the sudden disappearances of several missing teens in their small town. Realizing there might be something deeper happening, Emily and Christopher might be up against forces they can’t even imagine. Based on the urban legend “The Black Eyed Kids.”
LET US IN stars Mackenzie Ziegler, Makenzie Moss, Siena Agudong and Tobin Bell.
